Rear Window at Night Gallery
These images are, or may be, from the upcoming exhibition “Rear Window” which will open at Night Gallery on Tuesday at 10 pm. My source, my “Spy in the House of Night” if you will, wasn’t able to offer me much context for the images, and the press release for the exhibition also offers me little help in interpreting these several pictures. In fact my source declared the Night Gallery prose style as “on the poetic side.” Which is a description I accept and appreciate for it’s clarity.
“The small, dark, and unsupervised nickelodeons that began to appear in working-class neighborhoods in the 1890s had immediately aroused the concern of social purists who feared that they would become the site of illicit mingling of the sexes. The theaters also developed an unsavory reputation in middle-class society at large to which the nascent movie industry overcame by building huge elegant theaters (appropriately known as movie palaces) in the 1910s and 20s. Even some of the palaces became know as trysting spots for heterosexual couples, however, a few, particularly in less reputable areas, became places where gay men (as well as straight men simply interested in a homosexual encounter) could meet one another.”
–George Chauncey, “Privacy Could Only Be Had In Public: Gay Uses of the Streets,” Stud: Architectures of Masculinity (Ed. Joel Sanders)
Special thanks to Cole Akers for providing the quote.
Works in the Lounge by
AMIR NIKRAVAN and KATE RYAN
opens Tuesday, February 15th at 10pm.
With midnight screenings of “1 1/2” a film by Paul Pescador during the duration of the show.
In fact the only information I did get from my unnamed friend was “Hi Geoff, I made a bit of a mistake yesterday when I e-mailed you those images. The one image of the (……) is an image that “X” doesn’t want circulating (……..) Can we pretend that I never sent it to you? Sorry about that, and hope you’re well.”
The authors and titles of the above pictures are, working from the top – Paul Pescador: three stills from the film “1 1/2;” Daniel Ingroff: “Hours & Minutes,” and “Days and Weeks,” graphite on paper; and David Gilbert: “Afterparty” and “The Meeting,” ink jet prints.
DAVIDA NEMEROFF AS A MATTER OF FACT.
Although the presence of Davida Nemeroff isn’t stated as part of this exhibition, I feel it is safe to say that Davida is an unannounced collaborator in each exhibition at Night Gallery. I will also put before you that the city, our city, is the better for it. Better for Davida’s presence and her participation, that is.
If each one of us who do things in this city, all of you and we who put our efforts where our hearts are; if each of us is integral to the success of this whole that we call the Los Angeles art community then Davida Nemeroff is…. the bright star in our night. Our herbalist magician of the flatness of presence, the depth of the instant and the moment. She wields her camera with an offhand brilliance and intelligence that you might not even notice… until you see the picture or the film and understand that had she not made it, it wouldn’t exist. Note that I didn’t say “Had she not captured it…” Capturing is something one does to unfortunate animals, not with photographs. Davida Nemeroff works similarly to the theory of physics where the observor affects the observed. Davida’s is a world where the gaze carries force.
I am so going to this show on Tuesday.
Take a moment with me also to congratulate Nemeroff on her first solo museum exhibition, “California” by Davida Nemeroff, at the Toronto Photographer’s Workshop. I offer you some exhibition images taken from Little Paper Planes blog and a couple of other online sources. Congratulations Davida.